Migration, understood as the movement of people and cultures, gives impetus to globalisation and the transculturation processes that the interaction between people and cultures entails. This book addresses migration as a profoundly transforming force that has remodelled artistic and art institutional practices across the world. It explores contemporary art's critical engagement with migration and globalisation as a key source for improving our understanding of how these processes transform identities, cultures, institutions and geopolitics. The book also explores three interwoven issues of enduring interest: identity and belonging, institutional visibility and recognition of migrant artists, and the interrelations between aesthetics and politics, and its representations of forced migration. Transculturality indicates a certain quality (of an idea, an object, a self-perception or way of living) which joins a variety of elements indistinguishable as separate sources. The topic of migration is permeated not only with political but also with ethical urgencies. The most telling sign of how profoundly the mobility turn has affected the visual arts is perhaps the spread of the term global art in the discourses on art, where it is often used as a synonym for internationally circulating contemporary art. The book examines interventions by three artists who take a critical de- and postcolonial approach to the institutional structures and spaces of Western museums. The book also looks at the politics of representation, and particularly the question of how aesthetics, politics and ethics can be triangulated and balanced when artists seek to make visible the conditions of irregular migration.
-Western ethnic traditions. Rejecting both, as well as the traditional dualism between (Western) art and (ethnic or popular) artefact, such art is often left to operate in an institutional borderland, and vacuum, between the ethnographic museum and the museum of art.9 Regarding discursive globalisation – i.e. the written, spoken and curatorial articulations of contemporary art as including artists from all over the world, the discussion about New Internationalism has been an important catalyst for change in art institutional practices. For that reason, Lotte Philipsen has
establishing new art institutions throughout the region at the end of socialism. With Soros's return to Hungary in the 1980s, an artistic documentation program was first introduced in order to make Hungarian, and other Eastern European art, better known in or to the West. It was the lack of knowledge/documentation that was posited as the first and main obstacle to the development of more advanced art institutional practices. Documentation was made the base of the cultural modernization to be carried out in the next decade by the Soros programs throughout the region